Clout

Bracey, Andrew (2004) Clout. [Artefact]

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Abstract

Clout developed out of sustained interest by Bracey into the expansion of painting into other media and with breaking down and questioning the boundaries of what painting can be, in terms of media and subject. Through further research into the power of the miniature and media’s use of image, Bracey spent one year producing Clout. The work consists of 7000 individual paintings on the heads of roofing nails, 1000 of which were shown in John Moores exhibition. Each painting portrayed a different image and subject, reflecting the visual saturation of contemporary culture. The miniaturisation process seduces the viewer into closer engagement and micro-curated exhibitions emerge through viewer choices and interests. From the large choice available each viewer will make different selections dependant on variables of each personality such as cultural associations, eye height and attention span, reflecting wider concerns within society. The John Moores competition is widely acknowledged as Britain’s leading painting exhibition and takes place biennially to form a major component of the Liverpool Biennial. Clout was selected by 5 judges (Ann Bukantas, Gavin Turk, Gill Hedley, Callum Innes and Jarvis Cocker) from more than 1900 entries for this prestigious exhibition. Among the 55 other artists were leading artists such as Ian Davenport, Alexis Harding and Lisa Milroy. Clout came third in the visitor’s choice award for the exhibition. The exhibition also featured a 136 page catalogue (ISBN 1-902700-28-7) and was widely reviewed in art journal and newspapers. Clout has been further shown at Pumphouse gallery, London; Chapter, Cardiff; Draiocht, Dublin Firstsite in Colchester and Aspex, Portsmouth.

Item Type:Artefact
Additional Information:Clout developed out of sustained interest by Bracey into the expansion of painting into other media and with breaking down and questioning the boundaries of what painting can be, in terms of media and subject. Through further research into the power of the miniature and media’s use of image, Bracey spent one year producing Clout. The work consists of 7000 individual paintings on the heads of roofing nails, 1000 of which were shown in John Moores exhibition. Each painting portrayed a different image and subject, reflecting the visual saturation of contemporary culture. The miniaturisation process seduces the viewer into closer engagement and micro-curated exhibitions emerge through viewer choices and interests. From the large choice available each viewer will make different selections dependant on variables of each personality such as cultural associations, eye height and attention span, reflecting wider concerns within society. The John Moores competition is widely acknowledged as Britain’s leading painting exhibition and takes place biennially to form a major component of the Liverpool Biennial. Clout was selected by 5 judges (Ann Bukantas, Gavin Turk, Gill Hedley, Callum Innes and Jarvis Cocker) from more than 1900 entries for this prestigious exhibition. Among the 55 other artists were leading artists such as Ian Davenport, Alexis Harding and Lisa Milroy. Clout came third in the visitor’s choice award for the exhibition. The exhibition also featured a 136 page catalogue (ISBN 1-902700-28-7) and was widely reviewed in art journal and newspapers. Clout has been further shown at Pumphouse gallery, London; Chapter, Cardiff; Draiocht, Dublin Firstsite in Colchester and Aspex, Portsmouth.
Keywords:Painting, Paintings, Miniatures
Subjects:W Creative Arts and Design > W100 Fine Art
Divisions:College of Arts > Lincoln School of Art & Design
ID Code:1078
Deposited By: Bev Jones
Deposited On:31 Aug 2007
Last Modified:30 May 2012 10:55

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